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Ottonian Art – The Metropolitan Museum of Art

https://www.metmuseum.org/essays/ottonian-art

The Ottonian revival coincided with a period of growth and reform in the church, and monasteries produced much of the finest Ottonian art, including magnificent illuminated manuscripts, churches and monastic buildings, and sumptuous luxury objects intended for church interiors and treasuries.
versions of the subject, but the Ottonian artist has modified the style of his model

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Images of Antiquity in Limoges Enamels in the French Renaissance – The Metropolitan Museum of Art

https://www.metmuseum.org/essays/images-of-antiquity-in-limoges-enamels-in-the-french-renaissance

While religious themes had dominated Limoges enamels in the Middle Ages and continued to cover the surfaces of Limoges plaques particularly in the first third of the sixteenth century, images of Greek and Roman subjects predominated from the 1530s.
The painter varied his work from the printed model, changing the format, often reducing

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Cornelis Bisschop – A Young Woman and a Cavalier – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435670

The paintings by Bisschop that are most comparable in style to this undated work are from the late 1650s and the 1660s; they include the signed Old Woman Seated in Thought (Spencer collection, Althorp), dated 165[?], Joseph and Potiphar’s Wife (Kunstmuseum, Düsseldorf), formerly said to be signed and dated 1664, and the large Self-Portrait of 1668 (Dordrechts Museum)
Furthermore, the woman seems to be the same model Bisschop employed in a few works

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